Stay in touch - be the first to hear about new releases, upcoming events, and more from Rhino. Monday, May 18, Stream the album itunes spotify amazon music unlimited. Buy the album itunes. View all. Vulgar Display of Power. Aug 20, The Immaculate Collection. Jan 5, Advanced Search. Track Listing. Devo Corporate Anthem. Mark Mothersbaugh. Gerald V. Timing X. Wiggly World. Strange Pursuit. Swelling Itching Brain. Triumph of the Will. Pink Pussycat.
Secret Agent Man. Red Eye. General Boy Visits Apocalypse Now. Soo Bawlz. Be Stiff [Stiff Version]. Scott heaped praise on the band, claiming they were "quite professional in the studio" and that he "loved every minute of it.
Recording on the album started in September , one month following the release of their first album,  and one prior to the debut of their Q. Are We Not Men? Sessions likely picked up again in November when the tour saw the group return to California for a week. Scott discussed his role in the recordings and how Devo came to choose him for the album: "I consider my job to put the act across in the best way possible, in the way THEY wish to be perceived.
I hate it when I'm part of the final equation. The act was signed for their talent not mine. I know they chose me because of the Bowie records I did, but I don't know if it was a direct recommendation from Mr.
Devo always wanted to learn. That's why they worked with each producer only once. Took what they needed and then time to move on. One prominent aspect of Duty Now for the Future is in the manipulated sound of the guitars. According to Scott, to record the solo for "Secret Agent Man," "We overloaded mic amps and fed the signal through headphones which were taped to the mic.
Devo bass guitarist and co-songwriter Gerald Casale corroborated this approach in an interview with BAM magazine in It's like only one tiny piece of a synthesizer. On this album, we did much more with the guitars, too. Sometimes you don't know that they're guitars.
However, in later years, Casale was critical of the sound of the album. He 'de-balled' us. The American 12" album cover was jokingly dominated by the album's Universal Product Code. The colorful Janet Perr artwork satirized the new requirements for these bar codes. Until that time, album covers were seen as an entire art form unto themselves. Consequently, the new mandates for UPCs splashed across every work of album art were a subject of much protest as an infringement upon artistic integrity and an Orwellian symbol of the impersonal modern age.
It was used in the album artwork by simply taking it from the front page of the newspaper in the exact same dimensions, unbeknownst to the photographer. When he discovered this, he contacted the record company and was paid for the use. The rectangular image of the band originally came perforated and could therefore be removed from the "offending" barcodes surrounding it. The inner sleeve included the lyrics of all the songs printed in a single block of closely printed text.
In addition to other artwork, the sleeve also featured a West Hollywood address from which one could request information and news about the band. In addition, an address was included to allow purchasers to order a copy of the Devo-vision videocassette from Time Life. Devo produced one music video for this album. In this video, Devo chiefly wore white shirts and pants and silver 3D glasses.
Also of note is the appearance of Alex Mothersbaugh, the daughter of guitarist Bob Mothersbaugh. A short clip of the band standing at attention and then saluting was filmed to accompany "Devo Corporate Anthem" and was used in concert performance.
Duty Now for the Future was on the Billboard charts for 10 weeks, peaking at No. It was received less enthusiastically than their first release, Are We Not Men? We Are Devo! Dave Marsh , writing in Rolling Stone , condemns it completely, feeling that "inspired amateurism works only when the players aspire to something better. In Canada, the album reached number The AllMusic review, written more than a decade later, takes a longer view. Reviewer Mark Deming writes that "their second album captures the group in the midst of a significant stylistic shift" while acknowledging that the song "'Triumph of the Will' embraces fascism as a satirical target without bothering to make it sound as if they disapprove.